[ میهمان گرامی برای مشاهده لینک ها نیاز به ثبت نام دارید]Techno Music :
Techno music came out of Detroit in the 1980's, and carried the influences of popular electronic music of the 1970's to the dancefloors. The music features regular, pouding beats coupled with distorted synthesized sequences.
The best known early techno producers are Juan Atkins, Derrick May, and Kevin Saunderson, sometimes known as the Belleville Three. They made music for clubs that was a urban take on the music of German musicians like Kraftwerk and Tangerine Dream were making. While Techno made it to the clubs in Chicago and New York, it was a largely underground style throughout the eighties.

What is Techno ?!
TB303 TB-303 TB 303Techno is pure electronic music, originally designed for dances, that combines the sound of classic German electronica with an american Urban feel. The music emphasizes the machine sound of electronic drum machines, especially the Roland TR-808, and often is based around repetitive riffs played on bass line sequencers like the Roland TB-303.The history of techno starts in Detroit. The style emerged there when musicians took cheap, used electronic instruments and abused them in ways never intended by their creators. Early techno artists drew on science fiction and futuristic themes in their music. The techno sound depicted a place unlike the aging Detroit city where it was born. The music and the themes of the songs were intended to sound like something from the future. “It’s an attitude to making music that sounds futuristic,” according to techno pioneer Juan Atkins, “something that hasn’t been done before.”One of the best known early techno songs is "Alleys of your Mind", by techno artists Cybotron. Works from Atkins, May and Saunderson didn't make the charts, but were very influential because they were played in major clubs in the US. In 1988, a compilation called Techno! The New Dance Sound helped define the style.In the 90's, artists in Europe began to take the Detroit sound of early techno songs and morph it. New variations were created, including acid, ambient techno, hardcore, and jungle. The techno style has gained more popularity in Europe than it has in the United States, because electronica has been popularized more in Europe than in the US.Techno has been associated with raves since the nineties. The idea of a rave is just a techno party where like-minded techno fans can get together and dance to continuous dj mixes of electronic music. These have been particularly popular in Europe. In 2000, the Detroit Electronic Music Festival became one of the largest and most significant electronica events in the world. It was free and attracted hundreds of thousands of techno music fance from all over the world.

Synthtopia Techno Reviews :

Bjork - Debut
Tuesday, April 06, 2004

Debut was released in 1993, and it sounds as adventurous and free-spirited as ever. Bjork sings fearlessly, turning her relatively weak voice into one of the strongest voices in electronic pop music.
BT - Emotional Technology
Saturday, November 22, 2003

BTs latest is full of his trademark audio wizardry. The production is hot, but do the songs measure up?
BT - Movement in Still Life
Wednesday, February 18, 2004

BT is at his strongest on trance tracks, but on Movement in Still Life he takes on a new genre with every song. His hyperkinetic production style reaches new extremes as he slices and dices the sound with ginsu aplomb. Not the pure trance album that many listeners may want, Movement in Still Life is a great album nevertheless.
BT-ESCM
Thursday, December 18, 2003

BT hits a home run with ESCM, a near-perfect collection of trance and dance tunes that showcases his technical chops and musical vision.
Carl Cox - Phuture 2000
Sunday, March 14, 2004

Cox delivers a mixed bag of techno and house dance tracks on Phuture 2000. At its best, Phuture 2000 is state-of-the-art minimal dance music. Even at its worst, the music sounds just sounds like Cox needed a couple of tunes to pad out the album.
Chemical Brothers - Push the Button
Friday, April 15, 2005

The Chemical Brothers are back and, unlike some of their contemporaries, they refuse to fade away. On Push the Button, they enlist a interesting set of collaborators, giving the album a variety of sounds without sounding fragmented.
DJ Sandra Collins - Tranceport 3
Saturday, April 17, 2004

DJ Sandra Collins handles the mixing duties on the third incarnation of the excellent Tranceport series. Previous disks, mixed by Paul Oakenfold and DJ Dave Ralph, effectively established the Tranceport identity - interesting trance mixes for dancing or listening. Collins delivers another winner with this smooth collection of trance and techno sounds.
Fatboy Slim - Better Living Through Chemistry
Wednesday, December 17, 2003

Slim's loop-based style is in abundance on this CD, and there's more than enough beats, 303 bassline, and catchy hooks to keep dance electronica fans happy.
Fatboy Slim - You've Come a Long Way, Baby
Saturday, March 06, 2004

Fatboy Slim delivers the big-beat techno sounds that he is famous for. This Funk Soul Brother may be a middle-aged white guy named Norman Cook, but on this release, he proves that he can lay down the beats with the best of them.
Ilya - Dreaming Loud
Thursday, July 14, 2005

The latest cd by Ilya, Dreaming Loud, is a polished set of 14 original trance compositions.
Klaus Schulze - Body Love
Thursday, December 04, 2003

"Body Love" had inauspicious beginnings as the background music of a erotic movie by Lasse Braun. Instead of the cheesy jazz typical of 70's adult movies, Klaus Schulze pumped out a masterpiece of throbbing electronica.
Madonna - Ray of Light
Sunday, January 04, 2004

The latest music from dance divas Kylie Minogue and Britney Spears vear off into electronica territory, but they never rise to the level of work that Madonna has been putting out for years.

On Ray of Light, Madonna works with electronica artist William Orbit, and the result is one of the best combinations of the electronica and pop worlds ever put to CD.
Moby - Hotel
Friday, April 15, 2005

Hotel, the latest CD from Moby, is a two-cd set that delivers some of the most intimate work that he has ever done.
Orbital - Blue Album
Monday, September 13, 2004

The latest album from UK electronica pioneers Orbital, entitled the Blue Album, finds the Hartnoll brothers returning to their roots. The brothers make no concessions to current trends, instead staying close to the sound they created on their earliest CDs. The new CD, which said to be their last, is a fitting finale..
Orbital by Orbital
Saturday, November 22, 2003

Orbital's self-titled debut collects some of their earliest singles, and though the cuts are nearly 15 years old, they hold up well.
Paul Oakenfold - A Lively Mind
Sunday, July 30, 2006

The first single from the latest Paul Oakenfold CD A Lively Mind, is scorching hot. Is the rest of the CD as hot?
Paul Oakenfold - A Vogage Into Trance
Sunday, January 04, 2004

This twelve-track mix collects some great trance cuts and combines them into a non-stop DJ mix. A great release from one of the top DJs in the world.
Propellerheads - Decks and drums and rock and roll
Sunday, November 30, 2003

The album name sums up the sound of this album. It is full of loops, samples, and drum machines, but also manages to rock on many cuts.
Robert Miles - Dreamland
Sunday, November 23, 2003

Robert Miles' 1996 album is a set of upbeat, melodic trance cuts. These are targeted to a mainstream dance audience, and are filled with catchy melodies. These tunes sound great at the club, but are equally at home at the dance floor as the are in the chill-out room.
Sarah McLachlan - Bloom Remixes
Tuesday, November 22, 2005

Bloom brings together an A-list of remixers and gives them all a chance to work with some great material. The remixers include Sly & Robbie, DMC, DJ Talvin Singh, Junky XL, and Thievery Corporation.
Sylver - Nighttime Calls
Sunday, August 20, 2006

Nighttime Calls is full of uptempo dance tracks. The production is solid throughout, the tracks are full of hooks and Sylver seems to be intent on keeping the dance floor moving.
The Chemical Brothers - Exit Planet Dust
Tuesday, December 02, 2003

This 1995 album put 'big beat' into the lingo. Plenty of sampled loops, squelchy TB303 basslines, and a compressed kick that won't quit add up to upbeat, danceable techno.
The Orb - The Orb's Adventures Beyond The Ultraworld
Sunday, January 11, 2004

The first album from The Orb had a distinctive sound when it was released. It mixed ambient music with downtempo grooves, creating a pop ambient style that has helped move ambient music into the mainstream.
Underworld - Beaucoup Fish
Saturday, April 17, 2004

Beaucoup Fish is not the ultimate Underworld album that fans may dream of. Instead, it is a challenging, sometimes messy album that seems richer with each listening. The uncompromising approach Underworld takes on Beaucoup Fish keeps the music a little edgy, and makes it a treat for electronica fans.
Various - Animatrix
Thursday, December 11, 2003

If you thought the two Matrix sequels were overhyped, you're not alone.

On the other hand, if you missed the animated feature The Animatrix, you missed some of the most exciting visuals and storytelling of the series. The soundtrack CD is exceptional, too.
Various - komposi003
Friday, April 28, 2006

komposi003 is the third compilation from Positron! Records, and features tracks from Aizome, Amish Rake Fight, Atomica, Bounte, Micronaut, Milkfish, s.sturgis, and Scanalyzer.
Various - South Beach Sounds-Miami Music Week Vol. 1
Saturday, April 29, 2006

South Beach Sounds-Miami Music Week Vol. 1 is a CD/DVD collection that takes viewers on a trip to one of the top electronic music/dance events in the world, Miami Music Week.

Techno Form ?!
Techno is a form of electronic dance music that developed and established as a genre in Detroit, Michigan during the 1980s.It was influenced by

Chicago house, electro, New Wave, funk and futuristic fiction themes that were prevalent and relative to modern culture during the end of the

Cold War in industrial America at that time. Following the initial success of Detroit techno as a musical culture — at the very least on a regional level an expanded and related subset of genres in the 1990 semergedglobally. The popularity of techno in Europe peaked in this decade. Today the

popularity of techno is widespread. It may be the most popular genre in Central Europe and Eastern Europe, especially Poland, Germany and
Russia.The term "techno" is derived from the word technology. Music journalists and fans of the genre are generally selective in their use of the term, careful not to conflate it with related but distinct genres, such as house, trance and hardcore. At the same time, "techno" is commonly
confused with general terms such as electronic music and dance music.Electronic dance music has many forms, one of which is techno.

History
In the United States, techno was primarily developed by "The Belleville Three", a cadre of men who were attending college, at the time, near
Detroit, Michigan. The budding musicians, former high school friends and mix tape traders Juan Atkins, Derrick May, and Kevin Saunderson, found inspiration in Midnight Funk Association, an eclectic, 5-hour, late-night radio program hosted on various Detroit radio stations including WCHB, WGPR, and WJLB-FM from 1977 through the mid-1980s by DJ Charles "The Electrifying Mojo" Johnson.Mojo's show featured heavy doses of electronic sounds from the likes of Giorgio Moroder, Kraftwerk and Tangerine Dream alongside the funk of Parliament and the new wave sounds of the B-52s.Techno has since been retroactively defined to encompass, among others, works dating back to "Shari Vari" (1981) by A Number Of Names, the earliest compositions by Cybotron (1981), Donna Summer and Giorgio Moroder's "I Feel Love" (1977), "From Here to Eternity" (1977) and the more dancefloor-orientated selections from Kraftwerk's repertoire between 1977 and 1983.These electro-disco tracks share with techno a dependence on machine-generated beats and dancefloor popularity.Techno became more of a phenomenon in Europe than in the United States; American artists such as Moby and The Crystal Method who entered the electronic music scene producing techno were initially successful in Europe, but did not gain a presence in the U.S. until branching out into other styles such as breakbeat and electronica. The popularity of the techno movement peaked in the late 90s,particularly in 1999 at the Berlin Love Parade with an attendance of over one and a half million techno enthusiasts.

Funk and soul influences :
Techno draws heavily upon its funk and soul music roots to create its characteristically intense grooves and percussive basslines. Early pioneers of the genre melded the beat-centric styles of their Motown predecessors with the most modern technology of the time. Utilizing cutting-edge "beat machines" like the Roland TR-808, TR-909 and TB-303, early techno producers generated a new sound by creating intricate, unabashedly synthetic lower ranges, pushing conventional funk and soul to its limits. What resulted was a typified "Detroit techno sound" that permeates the core of vastly differing genres today.
The Roland TB-303 bassline synthesizer[ میهمان گرامی برای مشاهده لینک ها نیاز به ثبت نام دارید]

In the late 1980s, different subgenres of techno music began to emerge, including hardcore techno, an intensified style typified by a fast tempo
(around 160 bpm) and the rhythmic use of distorted and atonal industrial-like beats and samples, and ambient techno, with artists such as The Orb and Aphex Twin producing dub music and ambient influenced techno that later had an influence on artists dabbling in the minimal techno and what was originally techno's experimental offshoot, IDM. Techno in the form of acid house, influenced by the heavy use of the Roland TB-303 for bass and lead sounds, enjoyed a surge of popularity in the mid-1980s and went on to influence acid trance and acid techno. Tech house, which came to prominence in the late 1990s, imports concepts of techno into the basic structure of house music but with a softer, deeper sound and an almost jazzy touch - partly in convergence with progressive house.Less well-known styles related to techno or its subgenres include Yorkshire
bleeps and bass or bleep, a regional variant which was prominent in the late 1980s; wonky techno; ghettotech, which combines some of the
aesthetics of techno with hip-hop, house music, and Miami bass; and the subgenres of hardcore techno, including gabber, speedcore, terrorcore, breakcore and digital hardcore.80s techno pioneers Underworld during a live performance.Techno had also a big influence on main-stream European disco-pop music from the late 80s with Technotronic, and the evolvement of eurotechno during the early and mid 90s, with artists such as 2 Unlimited, Snap!, Culture Beat and CoronaIn recent years, the publication of relatively accurate histories by authors Simon Reynolds (Generation Ecstasy aka Energy Flash) and Dan Sicko (Techno Rebels), plus mainstream press coverage of the Detroit Electronic Music Festival, have helped to diffuse the genre's more dubious mythology.Techno has further expanded into the charts as more artists such as Orbital and Underworld have made the style break through to the mainstream pop culture while producers and DJs such as Laurent Garnier, Dave Clarke, Richie Hawtin and Jeff Mills havecontinued to explore newer sounds.

Production techniques and technology :
Techno features a largely percussive feel, like the synthetic sounds, studio effects used as principal instrumentation, and usually a regular 4/4 beat with a tempo of 120–140bpm, sometimes faster, but rarely slower. An oft-used techno drum pattern features a kick drum sample on beats 1 and 3, a snare-like sound on beats 2 and 4 and a highhat on each upbeat; a kick drum is usually also present on beats 2 and 4. A similar pattern is often heard in hip-hop but at slower tempo (usually 80-110bpm). Some techno compositions have strong melodies and bass lines, but these features are not as essential to techno as they are to other styles of electronic dance music, and it is not uncommon for techno compositions to deemphasize or omit them. Techno is also very DJ-friendly, being mainly instrumental, and produced with the intention of being incorporated into continuous DJ sets wherein different compositions are played with very long, synchronized segues. Although several other dance music genres can be described in such terms, techno has a distinct sound that aficionados can pick out very easily.
There are many ways to make techno, but a typical techno production is created using a compositional technique that developed to suit the
genre's sequencer-driven, electronic instrumentation. While this technique is rooted in a Western music framework (as far as scales, rhythm and meter, and the general role played by each type of instrument), it does not typically employ traditional approaches to composition such as reliance on the playing of notes, the use of overt tonality and melody, or the generation of accompaniment for vocals. While due (in part) to the limitations of early devices like the TB-303 and TR-808, some of the most effective techno music consists of little more than cleverly programmed rhythmic foundations and musical phrases that interplay with different types of special signal processing and frequency filtering. The resulting sounds are often mixed in such a way that it is not easy to distinguish the natural timbre of an instrument from the digital effects applied thereto.Techno
music can be created by using computer software programs. Some of the more popular computer software programs modernly used to create
techno music include FL Studio, Reason, Logic and Ableton, among many others. Often, the composer can make techno tracks using just these programs without any recordings produced from live instruments.Instead of employing traditional compositional techniques, the techno musician, usually acting as producer, treats the electronic studio as one large, complex instrument: an interconnected orchestra of machines, each producing timbres that are simultaneously familiar and alien. Each machine is encouraged to generate or complement continuous, repetitive sonic patterns that come relatively 'naturally' to them, given the capabilities and limitations of early sequencers — such sequencers, especially those built-in to old drum machines, tend to encourage the production of repeating 16-step patterns with a limited number of instruments being playable at once, yet they also allow sounds to be arranged in any order, regardless of whether live musicians could easily reproduce them. Rather than just mimicking arrangements playable by live musicians, the techno producer is free to prominently feature unrealistic combinations of sounds. Most producers,
however, strive to achieve a listenable, dancefloor-friendly balance of realistic and unrealistic arrangements of mostly synthetic, semi-realistic timbres, rather than a demonstration of machine-powered extremes.After an acceptable palette of compatible textures is collected in this manner, the producer begins again, this time focusing not on developing new textures but on imparting a more deliberate arrangement of the ones he or she already has. The producer "plays" the mixer and the sequencer, bringing layers of sound in and out, and tweaking the effects to create ever-more
hypnotic, propulsive combinations.